Welcome To The Next Century: BMW Individual 7 Series THE NEXT 100 YEARS

At dinner parties, in website forums, or chatting with friends —
by airing an opinion pretty much anywhere, in fact — the one
subject that is likely to provoke debate is cars. The automobile is
a deity in some circles, a simple mode of transport for others —
but from a branding perspective, no one sits on the fence or has no
allegiance. The exception that proves this rule is BMW, a marque
that has become a byword for desirability, reliability and driving
at its purest.

Bayerische Motoren Werke has always been a pioneer in automobile
development. The result of a never-ending production line of elite
motor vehicles, such as the BMW e30 M3 Sport Evolution, BMW 2002
Turbo and the BMW 507, is far from unenviable. You generate a
reputation as a brand that meets the desire of every modern car
buyer: that is to say, reliability, comfort, sport performance and,
for the most dedicated of petrol heads, an incomparable driving
experience. This prevents the ownership of a BMW being merely
material; it becomes something spiritual.

This year marks a milestone for BMW: the Bavarian behemoth is
100 years old, and to celebrate it has put every iota of
experience, skill and passion into creating what must be one of the
most extraordinary vehicles to hit the tarmac. The BMW Individual 7
Series THE NEXT 100 YEARS is a masterpiece — and, to make sure it
was as good as it appeared to be at first sight, we enlisted the
help of a man with an eye for detail unmatched by your average
enthusiast: the master tailor Edward Sexton.

"This year marks a milestone for BMW: the Bavarian behemoth is
100 years old."

The BMW Individual 7 Series THE NEXT 100 YEARS is designed with
craftsmanship in mind. Each facet and piece of material is shaped
and designed for aesthetic and physical comfort, something Mr.
Sexton has spent his working life mastering, too. He says of his
first thoughts, in fittingly anthropomorphic language: “What struck
me most about the car, when the driver picked me up, was the long
slender lines on the body — well proportioned, unassuming yet
powerful.” The colour is a rich royal blue, which complements the
polished metal on the grille and alloy wheels. The style of the
grille has a more demure, professional, less meaty design to its
cousin, the M class, but it nevertheless has a noble, effortlessly
chic front. Though the ribbed shaping on the bonnet does add a
soupçon of sportiness.

It was, however, when we got inside the car that Edward’s eye
really got to work. He wanted to be, and was, as meticulous about
the detailing within the car as the task required. “On entering the
car, the sheer luxury, the beautiful upholstery was palpable and
unmistakable,” he says. “I loved the attention to detail. The
machining, it was done so beautifully and precisely, matching on
all four corners of the seats; it connected perfectly. This is a
detail that could go unnoticed, but I felt as if they had thought
about it and, more importantly, they knew what they were doing.”
The gorgeous cream leather upholstery is riveted, moulded, stitched
and perforated to create the most visual and physical comfort. The
cosy use of wood adds a gentle, homely feel, or, as Edward puts it:
“The beautiful wood finishing, and in contrast with the leather,
looks amazing.”

Nothing is more important in Edward’s profession than the
materials he works with. The versatility and levels of quality in
wool is a widely discussed topic in The Rake. Though
leather is not his most commonly used material, when it comes to
the levels of quality, Edward knows it when he sees it and is
adamant about its importance. “High quality materials are vital,”
he says. “The reason being is that, at the end of the day, you have
to put the same amount of work into an inferior fabric than the
best fabric. Then the outcome between those two is obvious. Our
fabrics have been hand-finished and watched at every step from
cutting to finishing, and it was clear that BMW had put as much
into it, too.” True artisans understand the life force of good
fabrics. He adds: “I know when I put that on my table, it will
behave itself in the making, it will be a true representation of
what we do, how it works, how it wears, how it lasts. I never use
inferior fabrics for that reason — why would I put my energy into
making an inferior garment when I know it’s not going to be right?
If it’s quality, it will show and stand out, and that’s why this
car stood out.”

The car is also designed for the passenger. It is an office on
four wheels and a relaxation station in one. For the office, a
phone, desk and wifi; for relaxation, L.E.D. lights in the sunroof
that create ambience and a front passenger seat that tucks in
against the dashboard, allowing a stool to fold out as a footrest
for the back-seat passenger who can sink into a semi-reclining
seat. This is as close to business-class travel as it gets on the
road, and considering size restrictions of motor vehicles compared
with airplanes, it is extraordinary — revolutionary, even. What it
does is give a glimpse of how the future of luxury driving will
look, and what starts as luxury can flow down into general motor
industry usage. But there has to be a pioneer, and in this case it
is BMW.

The drive, as Edward says, is “like driving on air”, especially
“when I compare it to my first car, an Austin A40, four gears, a
carburettor, four plugs, and that’s it. Nowadays it’s almost
impossible to comprehend what is under the bonnet, and this car
especially.”

"The car is an office on four wheels and a relaxation station in
one."

This takes us to the most important aspect of BMW’s work with
this car, which is to emphasise and exploit that fulcrum where
modern technology and craftsmanship work in perfect harmony.
“Computers and technology have revolutionised everybody’s business,
and obviously it has affected ours,” Sexton says. “Even though true
bespoke is all done by hand, technology allows people to learn
techniques and understand craft in a much more comprehensive way.
The connection between craftsmanship and technology is key in
luxury today, as there is so much demand for products that require
both. I am still learning everything I can for my work. It is
amazing that technology has taught me a lot about, for example, the
attaching of a collar, or the pitch and rotation of the sleeve. I
can transfer what is done mechanically into something manual to
help enhance the garment. It’s a scientific approach to our
business. When I first came into the business there was none of
that, but this car illustrates how technology has come along.”

Of course, the highlight of this car’s mastery of technology and
craftsmanship is its ability to park itself remotely while the
driver stands outside — an almost impossible feature to believe
even once you’ve seen it. It is made possible by several cameras
and lasers dotted around the car to make sure it will fit snugly
into the garage and parking space.

Automotive journalists will get worked up by its 12-cylinder
engine, fearsome torque and formidable breaking system. But The
Rake’s experience with this car is purely spiritual: it
creates a feeling and a vision unmatched by other vehicles. It may
lack the boy-racer growls of a modern sports car, but it is far too
august and noble to worry about that. There are just 100 to be
made, and a more fitting expressing of this brand’s D.N.A. you’d be
hard-pressed to find. We only hope we see its like again.

Originally published in Issue 48 of The Rake, available on
newsstands now or you can subscribe here.